At the same time, the number of publications partially and/or totally dedicated to the history, criticism and theory of contemporary African art has also grown significantly. Several examples can be cited, starting with the book Contemporary Art in Africa, by Ulli Beier, published in London in 1968, the Revue Noir founded by Simon Njami and Jean-Loup Pivin in 1991, the anthology Reading the contemporary: African art from theory to the marketplace (1999) edited by the Olu Oguibe and Okwui Enwezor, where the contemporary African art is placed in a global perspective and in the context of the international art market, An anthology of African art: The Twentieth Century (2001-2002), edited by Jean-Loup Pivin and N’Goné Fall, Next flag: the African Sniper Reader (2005), edited by Angolan artist Fernando Alvim, Contemporary African Art since 1980 (2009) by Okwui Enwezor and Chika Okeke-Agulu, Geo-Graphics: A Map of Art Practices in Africa, Past and Present (2010), by David Adjaye and the recent Africa state of mind: Contemporary Photography reimagines a Continent (2020) and Condition report: On Art History in Africa (2020).
Concerning the artists from Portuguese-speaking African countries, their diaspora and those born and living in European countries with a colonial past, reference can be made to the exhibition Réplica e Rebeldia (2006), presented at the National Museum of Art in Maputo, the exhibition Present tense (2013), at the Calouste Gulbenkian Foundation, some recent exhibitions held by HANGAR – Centro de Investigação Artística, as well as some editions of the BES/Novo Banco PHOTO Awards and exhibitions held in recent years by the EDP Foundation. As for publications one could mention Atlantica: Contemporary Art from Angola and its diaspora (2018), Atlantica: Contemporary Art from Mozambique and its Diaspora (2020) and Atlantica: Contemporary Art from Cabo Verde, Guinea Bissau, São Tomé and Príncipe and their Diasporas (2021), “conceived and developed by artists together with theorists, curators and scholars, taking into account the artistic production of the new millennium”.